“The Fool Pied Piper”

This cartoon entitled “The Fool Pied Piper,” that was published in Puck Magazine June 2, 1909 shows American distaste for immigration to the United States. It portrays Uncle Sam as the Pied Piper, leading rats across the ocean toward the Statue of Liberty with a pipe that is labeled “Lax Immigration Laws.” The rats are labeled “Murderer,” “Thief”, “Kidnapper,” and “Assassin.” Some rats are carrying papers that say “The Black Hand.” Meanwhile, leaders and citizens of the countries the rats are leaving are cheering the rats’ departure

A hamelni patkányfogó alakja Robert Browning versében és Lucy Maud Montgomery Anne a Zöld Oromból sorozatában

The story of the pied piper is in a German legend from the Middle Ages and it describes a mysterious event in which 130 children were taken from the town of Hamelin by a piper dressed in many colours. This story inspired many authors, for example the Brothers Grimm, Robert Browning and Lucy Maud Montgomery. In this essay, I compare the character of the pied piper in Robert Browning’s poem The Pied Piper of Hamelin and in Lucy Maud Montgomery’s Anne of Green Gables series. In Browning’s poem, the seriousness of the story is softened by its rhymes and rhythm and by choosing to follow a version of the legend in which the consequences are not fatal. The Pied Piper a strange figure, but a character of the story who interacts with the other characters and has his own motivations, his actions are more or less justified. In the Anne of Green Gables series the Pied Piper is a metaphor for the First World War and later for death. He is seen only by Walter Blythe and only in visions. Walter can be compared to the lame child who was left behind and to the Pied Piper, too. Walter and the Pied Piper are both artists who use their art to move their audience to action

Playing the Piper: A Narratological Interpretation of John Corigliano’s Pied Piper Fantasy (1982)

John Corigliano’s Pied Piper Fantasy is a rather unusual concerto in the flute world. Written for and premiered by James Galway in 1982, the piece tells the familiar tale of the Pied Piper in Hamelin. In addition to being technically challenging, the piece has a music-theatrical dimension, including a suggested costume and directions for how the soloist enters and exits the stage. Because of the significance of the fable to the piece, an analysis that addresses this specific aspect seems appropriate. Although other authors have addressed this topic in the music to some extent, there is room for a more thoroughly narrativized interpretation as a possible basis for performance. This study consists of four complementary chapters. Chapter One, “The Pied Piper Coming to the Stage,” presents a brief history of the piece and an understanding of Corigliano’s career and compositional style. Chapter One also addresses some of the other scholarship on the Pied Piper Fantasy. Chapter Two, “The Pied Piper Story in Literary History,” offers a short overview of the tale throughout history followed by a narrative analysis of the story of the Pied Piper. Chapter Three, “A Narratological Analysis of the Pied Piper Fantasy,” discusses the piece in relation to wider concepts of narrative organization. The staged aspect of the work is also addressed. The final chapter, “Enacting the Fable: The Pied Piper Fantasy in Performance,” addresses the practical application of the ideas explored throughout the previous chapters. Flutists who have performed the work were consulted with respect to the ways in which dramatic considerations influenced their performances

Abortion and the Pied Piper of Compromise

In this article, Professor Clark offers a detailed analysis of the controversy among legal scholars which has long surrounded the issue of legal regulation of abortion. Professor Clark begins by focusing on a recent book by Professor Laurence Tribe, Abortion: The Clash of Absolutes. She argues that although Tribe claims to seek a compromise solution to the abortion problem, he fails in this pursuit both because he does not truly search for compromise and because he is unwilling to explore intermediate moral or legal positions that are not acceptable to either the pro-choice or pro-life movements. In contrast, Professor Clark proposes a search for intermediate positions which, she argues, better reflect the views of the many people who believe that women have a strong interest in retaining decisional capacity over their reproductive lives and that human life possesses an intrinsic and inherent value to society that increases as pregnancy advances. Professor Clark concludes that a recognition of intermediate positions on abortion would assist the Supreme Court in defining legitimate state interests in the regulation of abortion

Abortion and the Pied Piper of Compromise

In this article, Professor Clark offers a detailed analysis of the controversy among legal scholars which has long surrounded the issue of legal regulation of abortion. Professor Clark begins by focusing on a recent book by Professor Laurence Tribe, Abortion: The Clash of Absolutes. She argues that although Tribe claims to seek a compromise solution to the abortion problem, he fails in this pursuit both because he does not truly search for compromise and because he is unwilling to explore intermediate moral or legal positions that are not acceptable to either the pro-choice or pro-life movements. In contrast, Professor Clark proposes a search for intermediate positions which, she argues, better reflect the views of the many people who believe that women have a strong interest in retaining decisional capacity over their reproductive lives and that human life possesses an intrinsic and inherent value to society that increases as pregnancy advances. Professor Clark concludes that a recognition of intermediate positions on abortion would assist the Supreme Court in defining legitimate state interests in the regulation of abortion

A pied-piper situation : do bureaucratic researchers produce more science?

¿Puede un científico confiar en que el gobierno le va a pagar honestamente? En la relación entre la ciencia y el Estado, el gobernante sale ganando si no paga (o si no paga honradamente). Todo científico público, así, afronta el riesgo de que tras una carrera larga y difícil el gobernante cambie las reglas del juego. A pesar de que la solución a este problema de credibilidad es lo que da forma a las instituciones de la ciencia pública el problema ha sido rara vez estudiado teórica o empíricamente en los estudios de la ciencia. En este trabajo proponemos un modelo de esa relación entre gobiernos y científicos de acuerdo con la teoría de juegos que muestra la importancia del tipo de contrato que los vincula, el que sea más o menos burocrático en un sentido weberiano. Hasta cierto punto, los contratos burocráticos —como los de los funcionarios— protegen a los científicos contra el mal comportamiento de los gobernantes. Mediante esas reglas burocráticas, los contratos atan las manos del gobierno con lo que se hace creíble su compromiso a la vez que se protege el delicado sistema de recompensas de la ciencia. De esta manera se estimula la productividad tanto en calidad como en cantidad. Sin embargo, cuando se da el caso de gobiernos fiables los contratos burocráticos limitan los sistemas de incentivos y van en contra tanto de la receptividad de los científicos a las demandas de los gobiernos o de la sociedad como, al final, al interés de los gobiernos por el producto que ofrecen. En este trabajo utilizamos evidencia comparada entre países que confirma las proposiciones del modelo teórico y muestra cómo los contratos burocráticos estimulan la productividad científica en el caso de gobiernos poco confiables —como en el caso de las dictaduras— pero limitan esa productividad con gobiernos más fiables — como las democracias—